As a long-time King enthusiast and horror aficionado who has read ‘Salem’s Lot multiple times, I must say that the new adaptation, despite its flaws, was a delightful watch for me. The cinematography was breathtakingly eerie, reminiscent of the IT movies, which I still consider to be the gold standard among King adaptations.
Following two years of idle storage, the fresh adaptation of Stephen King’s ‘Salem’s Lot is now set for release by New Line and Warner Bros., debuting on their Max streaming platform. This will be the first time the cherished King novel is brought to the big screen, rather than the television miniseries adaptations that preceded it. The new interpretation of ‘Salem’s Lot appears visually captivating from beginning to end, yet occasionally falters in delivering a unified or smoothly paced narrative.
In the story, Salem’s Lot, we follow the character of author Ben Mears (Lewis Pullman) as he goes back to the small town of Jerusalem’s Lot where he grew up, with the intention of writing a new book. Coincidentally, upon his arrival, a pair of mysterious characters – a vampire (Alexander Ward) and his associate (Pilou Asbaek), disguised as antique dealers – show up in town. The disappearance of a local boy and the sad death of his brother begin to cause unrest in the community. Joining forces with a teacher he admires (Bill Camp), his new love interest (Makenzie Leigh), the town doctor (Alfre Woodard), a tipsy priest (John Benjamin Hickey), a young resident (Jordan Preston Carter), and others, Ben delves into the dark secrets of the town’s recent supernatural happenings and fights to banish the evil that has taken root in his old home.
Among King’s beloved novels, ‘Salem’s Lot could prove particularly challenging to transform into a movie due to its intricate character relationships that need to develop naturally for maximum impact in the climax of the story. The arrival of vampires in their town catches the characters off guard, and it takes time for them to strategize effectively. These aspects are what seem to present the biggest hurdles for writer/director Gary Dauberman during the adaptation process.
In approximately two hours, Salem’s Lot offers an engaging viewing experience, but the brevity of the film leaves little room for character relationships or events to unfold naturally. Rather than ingeniously addressing such issues, the movie tends to move swiftly from one point to another, leaving viewers puzzled about how certain scenes were reached. For instance, when teacher Matthew Burke is bitten by a vampire, it seems odd that he would rush to consult the new-in-town writer, Ben Mears, whom he has only met once, instead of discussing his predicament with others. This seems more like a plot convenience to involve both Burke and Ben, rather than a realistic response to the situation. This is just one minor (and largely insignificant) example, but it also fails to provide much in terms of plot development.
In this story, inconsistencies in the narrative don’t help the characters much, as they often feel flat and stereotypical instead of complex. Unfortunately, this is disappointing because Stephen King usually creates deep characters, and it seems that many of the actors in this adaptation have struggled to bring these rich characters to life effectively.
In one of his initial significant leading roles, Pullman delivers an exceptional performance as Ben Mears. He skillfully portrays both the captivating charm and the baffled terror, demonstrating that he possesses the same level of talent as his father. It’s no surprise that Bill Camp steals the show in every scene he appears. Renowned for his remarkable acting skills, Camp effortlessly impresses with an air of casual brilliance whenever he’s on screen. Jordan Preston Carter, who plays young Mark Petrie, is the standout actor of the film and promises a promising career ahead.
Despite some flaws in narrative flow, character development, and delivering scares, I wouldn’t label “Salem’s Lot” as a poor movie. Where Dauberman may have faltered in scripting, plotting, or characterization, he excelled in directing and cinematography. Based on visual appeal alone, “Salem’s Lot” ranks among the better Stephen King adaptations. It bears a closer resemblance to the “IT” films than the classic “Salem’s Lot” miniseries in terms of its aesthetic.
In addition, there’s a hint of nostalgia for the ’90s and early 2000s in the layout of Salem’s Lot , which I found quite enjoyable, particularly during the initial part. This is demonstrated through some brief moments of terror, abrupt transitions to gentler scenes, endearing character introductions, and a few humorous lines that add a touch of humor. As a result, Salem’s Lot evokes a sensation we don’t often encounter nowadays. It has an almost comforting quality, much like many horror films from that period do.
While it’s true that other Stephen King movies might be more memorable, “Salem’s Lot” isn’t one you’ll quickly forget either, and certainly not a film so poor as to warrant being stored away for two years without a proper release. Despite its numerous issues, this movie remains an enjoyable choice for Halloween viewing.
Rating: 3 out of 5
Salem’s Lot hits Max on October 3rd.
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2024-09-26 07:10